Crash And Burn (2011 Edition)

This new double-disc edition of Crash And Burn features five previously unreleased tracks (three instrumentals “Labyrinth Generator”, “Storm Warning”, “Broadway Submarine”, plus “Dust And Light (live)” and “Invisible Women (2) (live)”), as well as material from 2003′s long deleted limited edition “Drive EP”.
›› Read more

Friday, May 6th, 2011 NEW RELEASES

Krautrock

John Foxx talks about ‘Krautrock’ and the influence its had on his own work. This is the full transcript of Nick Watt’s interview for Record Collector. ›› Read more

Thursday, May 5th, 2011 MEDIA

Thought Experiments – Grey Nature 2

(by John Foxx)

New forms of life may have already evolved in cities.
There may also be forms of life that have always evolved symbiotically alongside human beings that we are completely unaware of – and it might be in that species interests for us to remain so.
 ›› Read more

Wednesday, April 13th, 2011 JOURNAL

Thought Experiments – Grey Nature 1

(by John Foxx)

The cities of the modern world are now becoming big enough to create their own unique ecologies. So – posit the emergence of a new form of nature – a nature existing as a result of urbanity. Grey Nature – capable of supporting entities every bit as fascinating and complex as anything in Green Nature.
›› Read more

Wednesday, April 13th, 2011 JOURNAL

John Foxx And The Maths – Interplay

John Foxx And The Maths – Interplay (Metamatic Records)

Released Monday 21st March, 2011.

‘One of the finest electronic records you’ll hear in 2011.’ THE QUIETUS

‘Meeting of synth-fetishists is an unlikely triumph.’ 4/5 MOJO

‘In the fourth decade of his career, Foxx has released an album which easily equals the high points of his rich back catalogue.’ BBC MUSIC

‘One of the most enlightened synth records in years.’ 4/5 THE STOOL PIGEON

‘It somehow walks the tightrope between experimental electronica, the pop of synth groups such as Depeche Mode and the disciplined Krautrock of Neu!. Foxx is still
sounding relevant.’ 4/5 ART ROCKER

‎’John Foxx’s return is a masterclass in minimal grooves and icy vocals and he’s still as fresh as the new acts he’s inspired. The Maths really do add up.’ 4/5 NEWS OF THE WORLD

‘Forceful, stripped-down music that sounds as new as its old, and as imaginative as it is familiar.’ UNCUT

‘Like all the best electro, the mood is stark and eerie. Foxx is sounding like a sinister patriarch, ruler of an industrial wasteland. Age has afforded him an unsettling gravitas.’ 4/5 PINK PAPER

‘Synthesizer archivist Benge (aka The Maths) turns out to be a superb foil for Foxx. The driving Catwalk sashays and swaggers like Suicide doing early Roxy. The spidery synthesizer riff on Watching A Building On Fire, featuring Ladytron’s Mira Aroyo, insinuates and conspires. And if you want clues to possible futures, the bass weight of Shatterproof and The Running Man provide diagrams of post-dubstep pop.’ THE WIRE

‘Scintillating, with simple economy and pert, Kraftwerkian arrangements . . . Interplay is a great album of compelling electro-pop songs which shows that the old synth wave is as vital as the new.’ 4/5 RECORD COLLECTOR

is as vital as the new.’ 4/5 RECORD COLLECTOR

‘A beguiling exercise in synth-pop discipline . . . Fellow effects unit fiend Mira Aroya from Ladytron lends support on the icily seductive Watching A Building On Fire, but it’s the squalling futurescape of Destination that points a tractor beam to your heart in the name of intoxicating robo-pop bliss.’ CLASSIC ROCK

‘Fresh and powerful. Tracks move from glistening-crisp and growling-fierce to tender, the latter mood captured by the melancholic beauty of ‘A Falling Star’ and ‘The Good Shadow’.’ 8/10 CLASH MAGAZINE

You can buy Interplay through the following outlets:

TOWNSEND (still some ltd edition digi-packs left)

AMAZON

HMV

ZAVVI

PLAY

Wednesday, March 30th, 2011 NEW RELEASES

Zivel (Czech Magazine)

I know that you like to view people as a superposition of interconnected personality layers. This ‘multiview’ should bring some logic to one’s personal history. In this interview, I would like to look a bit closely at your own layers in time. First – as a child playing in the wilderness surrounding the 50′s post-WWII Liverpool area. Maybe that was one of the reasons why Ballard’s work resonated with your feelings? Ballard was surely hit by the Japanese invasion in 1941 during his childhood in Shanghai.

JF: ‘I think that’s probably true – those early experiences and impressions surely shape a great deal of our basic personality. Industrial Britain in the immediate post war period was a very bleak place – but less so than Ballard‘s experience of Shanghai, where he and his parents and fiends were imprisoned and might have been shot at any time. ›› Read more

Saturday, March 12th, 2011 MEDIA

My Lost City – Electricity & Ghosts

Released by Metamatic Records in March, 2010

(by John Foxx)

I hadn’t listened to the recordings that have just been released as the My Lost City album since they were made, over twenty years ago. ›› Read more

Sunday, March 6th, 2011 JOURNAL

Fortean Times

Much of your earlier more pop-oriented musical work evokes Ballardian themes of desolation – crumbling cities, dystopian suburbias – but where did you draw inspiration for your more ambient work, albums like DNA and Cathedral Oceans?

JF: ‘I guess everything really came from The Quiet Man book. The DNA work is a loose set of music for imaginary movies also generated from the same source.’

Your photographic work also reflects the two sides of your musical personality – the images of verdant, overgrown man-made structures reclaimed by nature that accompany Cathedral Oceans, versus the surreal film-noir meets science-fiction imagery of, for instance, My Lost City. Where do these two seemingly opposite visual directions stem from? And what photographers or artists have inspired these two paths?

JF: ‘I think they stem from a childhood that coincided with the dissolution of the factories in the north of England.
There was a series of other major shifts at that time, from the devastation of Second World War bombing in Liverpool and Manchester, right down to the decline of cinemas and the incoming construction of the motorway network in the early 1960s. Everything was change – decline, ruins, overgrowth, then regrowth.
Cinema also played a great part in connecting and condensing all this.

Every time I saw a science-fiction film, I imagined it to be located somewhere in the local landscape. This really came into focus with Quatermass, which was set in urban and industrial Britain.

I suppose the artists who inspired some of these things would be the Surrealists – Max Ernst’s collages, Rene Magritte’s paintings and ideas, and Un Chien Andalou – that marvelous film by Bunuel and Dali.

Then there’s Marcel Duchamp, (who I think is the most important figure in contemporary art. Everyone else seems busy reconfiguring aspects of what he laid out over seventy years ago).

Empty city and surreal movies, such as The World The Flesh and The Devil, and especially Last Year in Marienbad.
Various film stills, such as the one from The H Man, which always stimulate the imagination.
Powerful and beautiful images such as Piranesi’s ‘Carceri’ series and his marvelous etchings of Rome in ruins. Turner’s sunsets are in there too.

Also, some marvelous Czech animators such as Walerian Borowczyk, Jan Lenica – and the Brothers Quay, who are British of course.

I also saw a painting in the early 1970’s by an artist whose name I can’t remember. It appeared to be an aerial perspective of a jungle or forest. Gradually, you came to see that it was an overgrown London, viewed from Centrepoint.’ ›› Read more

Thursday, February 10th, 2011 MEDIA